MAREE AND CASSANDRA I HAVE YOUR PPT FILES SO NO NEED TO EMAIL ME...
OK THIS WIKI THANG IS OUT OF CONTROL...COMBINING PAGES!
...EXCEPT FOR THE GRAPHIC DESIGN PEOPLE, WILL EVERYONE PLEASE EMAIL ME YOUR PORTFOLIOS...
ANDREW, DALEY AND SARSI ...YOUR ESSAY AS WELL - LET'S KNOW IF THERE ARE PROBLEMS
LET EVERONE KNOW
YOU GUYS...EMAIL ME AND I'LL SEND OUT YOUR STAGE DESIGN PIX VIA MAILBIGFILES...YOU WILL BE NOTIFIED...they look fabulous. Thanks Tim.
GUIDELINES FOR YOUR DESIGN PRESENTATIONS: WEEK 14 - IN CLASS 1 A brief description of your interpretation of the text’s narrative 2 The themes that you have identified as important 3 Significant moments/lines in the text 4 Your conceptualisation of the performance text 5 Your design
Odder and Odder
Same here...but it's OK now...no?
If you have not see the film Anna Karerina...then do - the design is astonishing [Thanks Chloe]
Please remember to upload your mood boards AND ANY DRAMATURGICAL DATA. IN ADDITION BRING TO CLASS ANY IMAGES THAT YOU WANT TO USE IN YOUR SET...WE WILL RESUME WORKING ON THE STAGE MODEL. Stay safe over the festive break!!
Is anyone experiencing any difficulty uploading images to wikispaces ? it just stopped letting me do it, and it's kinda doing my head in. -Trav
FOR WEEK FOUR:CHOSE A SECTION OF THE EMPEROR JONES SCRIPT...AND PREPARE IT FOR WORKSHOPPING...USING THE OTHER PEOPLE IN CLASS. WE'LL TRY AN GET AT LEAST FOUR INTERPRETATIONS/READINGS/DESIGNS WORKSHOPPED.
Think about this: SIGN The fundamental feature, in all the affective signs, is the way the form always retains and preserves the dimension of an idea…its connectivity to thinking. According to Martin Heidegger we begin to think only when we are compelled to do so; because “we are not yet thinking…the opposite of thought is not error but, convention, taste, clichés, indifference, fear and habit…etc.” [1] The same analogy may be applied to seeing. We choose to see because we are not yet seeing and the opposite of seeing is similarly not blindness but habit, convention and indifference.
SPACE “Space is not the setting (real or logical) in which things are arranged, but the means whereby the positing of things becomes possible. This means that instead of imagining it as a sort of ether in which all things float, or conceiving it abstractly as a characteristic that they have in common, we must think of it as the universal power enabling them to be connected. Therefore, either I do not reflect, but live among things and vaguely regard space at one moment as the setting for things, at another as their common attribute ‑or else I do reflect: I catch space at its source, and now think the relationship which underlies this word, realizing then that they live only through the medium of a subject who describes and sustains them; and pass from spatialized to spatializing space.” [2]
AFFECTIVE SPACE
affective space ... a condition which appears to be more than the sum of the elements responsible for the sign’s construction
[1]Heidegger, Martin. Sein und Zeit [trans. as Being and Time by Macquarrie, John and Robinson, Edward], Basil Blackwell, Oxford, 1978. Martin [Heidegger’s main interest was ontology or the study of “being.” In his fundamental treatise, Being and Time, “being” was discussed through the phenomenological analysis of human existence in regard to its temporal and historical quality.] [2] Merleau-Ponty, Maurice. The Phenomenology of Perception, [Trans. Colin Smith], Routledge and Kegan Paul, London, 1974. pp. 243-244.
In the Thursday class, I said that we had to stay with the script as is…having thought this through…this is now not strictly the case.
As long as you consider the themes of the text and [re]contextualise your readings of them, then that is fine…so be prepared for some discussion about the themes of the text in W3 class.
Irrespective of what framing device you use [through what lens you read the text], make a list of the levels of design innate in the text as it is…
Functional
Sciometric
Atmospheric
Symbolic
Metaphoric
Affective
Here are some questions you might like to consider? What are the themes of the text? Try and sum-up what the play is about in one sentence? Why is the protagonist called Brutus? Where are the West Indies? How did Brutus get there? What are those expressionist visitations?
OK the script for the Theatre Design groups is...The Emperor Jones [Eugene O'Neill]
Serge - Could you please tell me what the image is on your staff.murdoch page under the title 'intrusiveness' ...the image just below The Glass Menagerie image. Is this a set, or an example of intrusiveness. I really like it, I'm intrigued!
Thanks, Chloe
OK THIS WIKI THANG IS OUT OF CONTROL...COMBINING PAGES!
...EXCEPT FOR THE GRAPHIC DESIGN PEOPLE, WILL EVERYONE PLEASE EMAIL ME YOUR PORTFOLIOS...
ANDREW, DALEY AND SARSI ...YOUR ESSAY AS WELL - LET'S KNOW IF THERE ARE PROBLEMS
LET EVERONE KNOW
YOU GUYS...EMAIL ME AND I'LL SEND OUT YOUR STAGE DESIGN PIX VIA MAILBIGFILES...YOU WILL BE NOTIFIED...they look fabulous. Thanks Tim.
GUIDELINES FOR YOUR DESIGN PRESENTATIONS: WEEK 14 - IN CLASS
1 A brief description of your interpretation of the text’s narrative
2 The themes that you have identified as important
3 Significant moments/lines in the text
4 Your conceptualisation of the performance text
5 Your design
Same here...but it's OK now...no?
If you have not see the film Anna Karerina...then do - the design is astonishing [Thanks Chloe]
Please remember to upload your mood boards AND ANY DRAMATURGICAL DATA.
IN ADDITION BRING TO CLASS ANY IMAGES THAT YOU WANT TO USE IN YOUR SET...WE WILL RESUME WORKING ON THE STAGE MODEL.
Stay safe over the festive break!!
Is anyone experiencing any difficulty uploading images to wikispaces ? it just stopped letting me do it, and it's kinda doing my head in.
-Trav
Link to:
Wooster Group Emperor Jones
FOR WEEK FOUR:CHOSE A SECTION OF THE EMPEROR JONES SCRIPT...AND PREPARE IT FOR WORKSHOPPING...USING THE OTHER PEOPLE IN CLASS. WE'LL TRY AN GET AT LEAST FOUR INTERPRETATIONS/READINGS/DESIGNS WORKSHOPPED.
Think about this:
SIGN
The fundamental feature, in all the affective signs, is the way the form always retains and preserves the dimension of an idea…its connectivity to thinking.
According to Martin Heidegger we begin to think only when we are compelled to do so; because “we are not yet thinking…the opposite of thought is not error but, convention, taste, clichés, indifference, fear and habit…etc.” [1]
The same analogy may be applied to seeing. We choose to see because we are not yet seeing and the opposite of seeing is similarly not blindness but habit, convention and indifference.
SPACE
“Space is not the setting (real or logical) in which things are arranged, but the means whereby the positing of things becomes possible. This means that instead of imagining it as a sort of ether in which all things float, or conceiving it abstractly as a characteristic that they have in common, we must think of it as the universal power enabling them to be connected. Therefore, either I do not reflect, but live among things and vaguely regard space at one moment as the setting for things, at another as their common attribute ‑or else I do reflect: I catch space at its source, and now think the relationship which underlies this word, realizing then that they live only through the medium of a subject who describes and sustains them; and pass from spatialized to spatializing space.” [2]
AFFECTIVE SPACE
affective space ... a condition which appears to be more than the sum of the elements responsible for the sign’s construction
[1] Heidegger, Martin. Sein und Zeit [trans. as Being and Time by Macquarrie, John and Robinson, Edward], Basil Blackwell, Oxford, 1978. Martin [Heidegger’s main interest was ontology or the study of “being.” In his fundamental treatise, Being and Time, “being” was discussed through the phenomenological analysis of human existence in regard to its temporal and historical quality.]
[2] Merleau-Ponty, Maurice. The Phenomenology of Perception, [Trans. Colin Smith], Routledge and Kegan Paul, London, 1974. pp. 243-244.
In the Thursday class, I said that we had to stay with the script as is…having thought this through…this is now not strictly the case.
As long as you consider the themes of the text and [re]contextualise your readings of them, then that is fine…so be prepared for some discussion about the themes of the text in W3 class.
Irrespective of what framing device you use [through what lens you read the text], make a list of the levels of design innate in the text as it is…
Functional
Sciometric
Atmospheric
Symbolic
Metaphoric
Affective
Here are some questions you might like to consider?
What are the themes of the text?
Try and sum-up what the play is about in one sentence?
Why is the protagonist called Brutus?
Where are the West Indies?
How did Brutus get there?
What are those expressionist visitations?
OK the script for the Theatre Design groups is...The Emperor Jones [Eugene O'Neill]
Serge - Could you please tell me what the image is on your staff.murdoch page under the title 'intrusiveness' ...the image just below The Glass Menagerie image. Is this a set, or an example of intrusiveness. I really like it, I'm intrigued!
Thanks, Chloe